Alison Landsberg
Datos Biográficos
| ID | 335315 |
|---|---|
| NOMBRE | Alison Landsberg |
| NOMBRES | Alison |
| APELLIDO | Landsberg |
| FIRMA | LANDSBERG A |
| AFILIACIONES | George Mason University |
| VERIFICADO | No |
| TOTAL DE OBRAS | 17 |
| TOTAL DE CITAS | 114 |
| TOTAL COMO AUTOR | 17 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1995 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 4 |
Metamodern memory
Ivan Jablonka. History Is a Contemporary Literature
Ivan Jablonka’s recently translated monograph History Is a Contemporary Literature: Manifesto for the Social Sciences brings together two projects: an excavation of the genealogies of history and literature, emphasizing their long-standing mutual entanglements, and the use of that evidence to inspire historians to think more broadly and creatively about what they do as historians and how. As a self-described manifesto, it seeks to energize histor…
Horror vérité
This essay proposes that certain cinematic conventions of the horror film are uniquely suited to bring into visibility everyday, endemic horror – a horror that many in US society refuse to see. I call this use of horror, ‘horror vérité’ or truthful horror. As a form of politically inflected horror, it has potential to perform the kind of materialist history that Walter Benjamin theorizes, in which the historical materialist ‘appropriate[es] a mem…
Post-Postracial America
A seismic shift in the racial landscape of the United States occurred in 2016. The prevailing discourse about a “postracial America,” though always, in the words of Catherine Squires a “mystique,” was firmly and finally extinguished with the election of Donald J. Trump. Race, in the form of racial prejudice, erupted in Trump’s political rhetoric and in the rhetoric of his supporters. At the same time, the continued significance and consequences o…
Engaging the Past
Theorizing Affective Engagement in the Historical Film2. Waking the Past: The Historically Conscious Television Drama3. Encountering Contradiction: Reality History TV4. Digital Translations of the Past: Virtual History ExhibitsConclusionNotesBibliographyIndex
Engaging the Past
This isn't usual, Mr. Pendleton, this is history’
This brief essay considers the ways that Steven Spielberg's film Lincoln produces historical knowledge. As many scholars have pointed out, there are details in the film that are not borne out by the historical record. A much more important critique, persuasively articulated by historian Kate Masur, takes issue not with isolated facts, but with overall interpretation. She argues that the film erases the work African Americans did to fight for thei…
Cinematic Temporality
Cinematic Temporality
In his 1916 treatise on the psychological effects of moving pictures, Hugo Munsterburg marvels at film’s freedom from the slow linear forward march of historical time. Unlike the theatre, which ‘respect[s] th[e] temporal structure of the physical universe’, the cinema frees time, so that ‘pictures of the past flit through the scenes of the present’. 1 As a modern technology par excellence , film is implicated in what many theorists have described…
Waking the Deadwood of history
The role of sound in filmic and televisual historical representations has been underexamined, yet sound can function in powerful ways to produce specific forms of knowledge about the past. In particular, a film or show can use dialogue and other human sounds to move viewers between spectatorial identification and alienation. In other words, sound can be deployed to maintain a sense of distance and difference as a structuring principle even as vie…
Memory, Empathy, and the Politics of Identification
Mediated Memories in the Digital Age (review)
Reviewed by: Mediated Memories in the Digital Age Alison Landsberg (bio) José van Dijck. Mediated Memories in the Digital Age. Stanford: Stanford UP, 2007. 256 pp. ISBN 0-804-75624-4, $21.95. In her thought-provoking new book, José van Dijck has undertaken a formidable task. Unlike most theorists of memory, who work either with cognitive or with cultural models, she argues that to understand memory in the digital age requires an approach with dra…
Response
A response to the commentaries of James Berger and Alun Munslow.
Prosthetic memory
Prosthetic Memory argues that mass cultural forms such as cinema and television in fact contain the still-unrealized potential for a progressive politics based on empathy for the historical experiences of others. The technologies of mass culture make it possible for anyone, regardless of race, ethnicity, or gender, to share collective memories -- to assimilate as deeply felt personal experiences historical events through which they themselves did…
A Place to Remember
America, the Holocaust, and the Mass Culture of Memory
In the final scene of Schindler's List (Steven Spielberg, 1993), a marching line of actors leaving a liberated concentration camp dissolves into a marching line of the real-life Schindler Jews approaching Schindler's grave in Israel. In this dissolve, the black-and-white film changes to color, signaling both a generic and a temporal shift from the classical Hollywood mode and the past to real-life and the present.2 The real Schindler Jews walk wi…
Prosthetic Memory
Prosthetic memory
Prosthetic Memory argues that mass cultural forms such as cinema and television in fact contain the still-unrealized potential for a progressive politics based on empathy for the historical experiences of others. The technologies of mass culture make it possible for anyone, regardless of race, ethnicity, or gender, to share collective memories -- to assimilate as deeply felt personal experiences historical events through which they themselves did…
America, the Holocaust, and the Mass Culture of Memory
In the final scene of Schindler's List (Steven Spielberg, 1993), a marching line of actors leaving a liberated concentration camp dissolves into a marching line of the real-life Schindler Jews approaching Schindler's grave in Israel. In this dissolve, the black-and-white film changes to color, signaling both a generic and a temporal shift from the classical Hollywood mode and the past to real-life and the present.2 The real Schindler Jews walk wi…
Memory, Empathy, and the Politics of Identification
Horror vérité
This essay proposes that certain cinematic conventions of the horror film are uniquely suited to bring into visibility everyday, endemic horror – a horror that many in US society refuse to see. I call this use of horror, ‘horror vérité’ or truthful horror. As a form of politically inflected horror, it has potential to perform the kind of materialist history that Walter Benjamin theorizes, in which the historical materialist ‘appropriate[es] a mem…
Prosthetic Memory
Post-Postracial America
A seismic shift in the racial landscape of the United States occurred in 2016. The prevailing discourse about a “postracial America,” though always, in the words of Catherine Squires a “mystique,” was firmly and finally extinguished with the election of Donald J. Trump. Race, in the form of racial prejudice, erupted in Trump’s political rhetoric and in the rhetoric of his supporters. At the same time, the continued significance and consequences o…
Waking the Deadwood of history
The role of sound in filmic and televisual historical representations has been underexamined, yet sound can function in powerful ways to produce specific forms of knowledge about the past. In particular, a film or show can use dialogue and other human sounds to move viewers between spectatorial identification and alienation. In other words, sound can be deployed to maintain a sense of distance and difference as a structuring principle even as vie…
Metamodern memory
Prosthetic Memory
America, the Holocaust, and the Mass Culture of Memory
In the final scene of Schindler's List (Steven Spielberg, 1993), a marching line of actors leaving a liberated concentration camp dissolves into a marching line of the real-life Schindler Jews approaching Schindler's grave in Israel. In this dissolve, the black-and-white film changes to color, signaling both a generic and a temporal shift from the classical Hollywood mode and the past to real-life and the present.2 The real Schindler Jews walk wi…
A Place to Remember
Prosthetic memory
Prosthetic Memory argues that mass cultural forms such as cinema and television in fact contain the still-unrealized potential for a progressive politics based on empathy for the historical experiences of others. The technologies of mass culture make it possible for anyone, regardless of race, ethnicity, or gender, to share collective memories -- to assimilate as deeply felt personal experiences historical events through which they themselves did…
Response
A response to the commentaries of James Berger and Alun Munslow.
Mediated Memories in the Digital Age (review)
Reviewed by: Mediated Memories in the Digital Age Alison Landsberg (bio) José van Dijck. Mediated Memories in the Digital Age. Stanford: Stanford UP, 2007. 256 pp. ISBN 0-804-75624-4, $21.95. In her thought-provoking new book, José van Dijck has undertaken a formidable task. Unlike most theorists of memory, who work either with cognitive or with cultural models, she argues that to understand memory in the digital age requires an approach with dra…
Memory, Empathy, and the Politics of Identification
Waking the Deadwood of history
The role of sound in filmic and televisual historical representations has been underexamined, yet sound can function in powerful ways to produce specific forms of knowledge about the past. In particular, a film or show can use dialogue and other human sounds to move viewers between spectatorial identification and alienation. In other words, sound can be deployed to maintain a sense of distance and difference as a structuring principle even as vie…
Cinematic Temporality
In his 1916 treatise on the psychological effects of moving pictures, Hugo Munsterburg marvels at film’s freedom from the slow linear forward march of historical time. Unlike the theatre, which ‘respect[s] th[e] temporal structure of the physical universe’, the cinema frees time, so that ‘pictures of the past flit through the scenes of the present’. 1 As a modern technology par excellence , film is implicated in what many theorists have described…
Cinematic Temporality
Engaging the Past
Theorizing Affective Engagement in the Historical Film2. Waking the Past: The Historically Conscious Television Drama3. Encountering Contradiction: Reality History TV4. Digital Translations of the Past: Virtual History ExhibitsConclusionNotesBibliographyIndex
Engaging the Past
This isn't usual, Mr. Pendleton, this is history’
This brief essay considers the ways that Steven Spielberg's film Lincoln produces historical knowledge. As many scholars have pointed out, there are details in the film that are not borne out by the historical record. A much more important critique, persuasively articulated by historian Kate Masur, takes issue not with isolated facts, but with overall interpretation. She argues that the film erases the work African Americans did to fight for thei…
Horror vérité
This essay proposes that certain cinematic conventions of the horror film are uniquely suited to bring into visibility everyday, endemic horror – a horror that many in US society refuse to see. I call this use of horror, ‘horror vérité’ or truthful horror. As a form of politically inflected horror, it has potential to perform the kind of materialist history that Walter Benjamin theorizes, in which the historical materialist ‘appropriate[es] a mem…
Post-Postracial America
A seismic shift in the racial landscape of the United States occurred in 2016. The prevailing discourse about a “postracial America,” though always, in the words of Catherine Squires a “mystique,” was firmly and finally extinguished with the election of Donald J. Trump. Race, in the form of racial prejudice, erupted in Trump’s political rhetoric and in the rhetoric of his supporters. At the same time, the continued significance and consequences o…
Ivan Jablonka. History Is a Contemporary Literature
Ivan Jablonka’s recently translated monograph History Is a Contemporary Literature: Manifesto for the Social Sciences brings together two projects: an excavation of the genealogies of history and literature, emphasizing their long-standing mutual entanglements, and the use of that evidence to inspire historians to think more broadly and creatively about what they do as historians and how. As a self-described manifesto, it seeks to energize histor…
Metamodern memory
History (11 obras) · Art (8 obras) · Aesthetics (7 obras) · Philosophy (7 obras) · Sociology (7 obras) · Cinema and Media Studies (6 obras) · Epistemology (6 obras) · History (6 obras) · Italian Fascism and Post-war Society (6 obras) · Literature (6 obras)